< Long live the Motherland> and < Four seasons: Spring> are acquired by the Asian Art Museum in San Francisco, U.S. in September 2015 as part of its permanent collection, together with over 18000 pieces of magnificent artworks of Asian origin, the oldest of which is over 6000 years old.
In the first phase of her art, around 2003, Chen formed a unique visual language based on traditional painting skills developed since her early childhood and throughout her college years, mixing her paintings with the photos in the process of editing. The “Astronaut”, her best known piece, was displayed in the China Design Now at V&A Museum, London and is held by the museum as part of its collection.
In the second phase, Chen’s artistic expression became more free and diversified. With more mature and exquisite techniques, she develops a brand new way to blend together elements from Chinese and Western cultures. Focusing on showcasing contemporary Chinese faces under a contemporary Chinese background. The artist combines the wide scope of Chinese philosophy and the western forms of expression through her innovative visual language. The Skateboard Girls and Funky Great Wall series became her trade marks at that time, being introduced respectively by the New York Times and the Der Spiegel of Germany and praised as the representatives of Chinese visual art innovation.
Now she has come to her third phase. One of her most famous art series, the "Red", is based on the Buddhist conception of everything coming from the heart. Everyone can be the Buddha. Form itself is emptiness; emptiness itself is form. All these perspectives are clearly reflected in her works. The human bodies are the only elements shot by camera, while other elements are post-produced by computer. One of the characteristics of these works is to integrate Buddhism into the subjects, which is an innovative religious language in her art. Everything and everyone can be the Buddha. In her eyes everyone has the unique energy that become the specific “form” and “emptiness”.